What’s in a Cube—this is the name I’ve given to this collaborative project with the Museo Thyssen-Bornemisza shop in Madrid. The project consists of two markedly different objects, both among my personal favorites: a silk scarf (available in two sizes: 90x90 cm and 50x50 cm) and a sketchbook or journal.

As with previous collections—first inspired by Still Life with Parrot by Robert Delaunay, and later by The Bathers by Max Pechstein—this project begins with the reinterpretation of a work from the museum’s permanent collection.

In this context, it’s important to clarify that reinterpretation does not mean transforming something that already exists but rather creating something entirely new from it. This requires establishing a certain connection between my own visual language and that of the original work, making the choice of the painting a crucial first step.

Creatively speaking, the most fruitful connections are subtle rather than mimetic, allowing the final outcome to be something new, personal, and uniquely mine, while still maintaining a degree of kinship with the original source of inspiration—in this case, Still Life with Dice, a 1923 work by Paul Klee.

I approach these projects as a kind of visual dialogue with the work of an artist I deeply admire. It’s a conversation through time, inherently one-directional, structured around forms, colours, spatial arrangements, and proportions. To all this, of course, is added the symbolic weight that these formal elements acquire in any act of creation.

The most challenging part of the entire process is constructing this dialogue and translating it into an image that serves as the foundation for further development. I usually start by drawing in my sketchbooks, sketching and painting with my preferred techniques: pencil drawing and watercolor. From there, I manipulate the designs digitally.

Once that initial image is created, the process becomes more playful and spontaneous. During this stage, I don’t yet think about objects; instead, I focus on generating as many variations as possible from that foundational image. Having multiple options will later help me consider their potential applications.

The objects begin to take shape toward the end of the process, in a dynamic that moves from the abstract to the concrete. This is another aspect I love about these collaborations: the hybrid space at the boundary between art and design, applied art, and the artistic object. It’s that indistinct space between disciplines that fascinates me.

The pieces, produced between Madrid and Milan, are available for purchase at the Museo Thyssen shop in Madrid.